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Abstract

In this article, we address the issue of poetic translation and re-translation, beginning from a theoretical approach and, then, contextualizing it by the Italian versions of Antonio Machado’s poetry during the 20th century and the last decades. In the first part, we underline the most important elements that make poetic (re-)translation an autonomous, creative and original “literary genre”. In the second part, we compare Machado’s translations by Oreste Macrì to the ones newly realized by the author of the present article in terms of language, strategies and editorial target.
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Authors and Affiliations

Matteo Lefèvre
1
ORCID: ORCID

  1. Università degli Studi di Roma "Tor Vergata"
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Abstract

The paper aims at presenting an outline of the Italian translations of the poetry collection Italia by the poetess Maria Konopnicka published between 1916 and 1929. An overview of their reception in the Italian press will be provided, showing three reading strategies: a patriotic interpretation, a critical analysis, and a promoting presentation, sometimes closely interwoven. Finally, an attempt to explain Konopnicka’s artistic recognition in Italy in the early XX century will be supplied.
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Bibliography

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12. COSTA, G. (1920): recensione a: M. Konopnicka, Italia, I Gioielli dell’Eroica, Milano 1919, Bilychnis, XVI, 240–241.
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17. FABER‑CHOJNACKA, A./ GÓRA, B. (1986): Bibliografia przekładów utworów Marii Konopnickiej za lata 1879–1979, Wydawnictwo Naukowe WSP, Kraków.
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27. KONOPNICKA, M. (1927): “Incanto, Nella sagrestia di Murano, In San Michele (di Pavia), La lancia di Orlando, Nella Certosa (di Firenze), Giotto, La Madonna Sistina, Al mare!..., Ecco la mia barca…, Prima della tempesta, Notte a Nervi, Bagnasco, Molo Lucedio, Certosa di S. Martino, Sul Gianicolo, Villa Wolkonski, Nell’antica abside, Nelle logge”, trad. C. e C. Garosci, I nostri Quaderni, IV/VIII, 78–90.
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Authors and Affiliations

Alessandro Amenta
1
ORCID: ORCID

  1. Università Di Roma “Tor Vergata”, Roma
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Abstract

The article examines the English version of some poems by the Russian writer Nina Iskrenko (1951– 1995), included in the collection The Right to Err (Washington 1995) and translated by the American poet John High. Considering High’s observations in the introduction of the work, I will analyze the translation process as an existential dialogue between two intersecting poetics, leading to the liberation of language from any ideological connotations.
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Authors and Affiliations

Roberta Sala
1
ORCID: ORCID

  1. Università degli Studi di Torino
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Abstract

Józef Birkenmajer (1897–1939) was literary scholar and translator from classical and modern languages. He formulated the concept of ‘co-creative translation’, which assumes that the translator and the author of the original text enjoy the same status of creators. Although he translated a host of English novels, what he liked most was highly rhythmic verse, a preference not hard to detect in the list of his publications. His translations of Rudyard Kipling belong to the classics of the genre. By giving full attention to the poems and rhyming couples in Kipling's stories, Birkenmajer pioneered the notion of integral translation. His habit of lacing his journalism and other forms of writing with memorable verses from Kipling's books led many Polish readers to see Kipling primarily as a poet. Birkenmajer was also a translator of the poems and fiction of Edgar Allan Poe, on whose ‘Raven’ he worked in late 1937/early 1938 (it was eventually published in April 1938). While his experiments with obsolete vocabulary and dialect words were on the whole unsuccessful, many of his translations continue to spellbind new generations of readers.
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Authors and Affiliations

Aleksandra Budrewicz
1

  1. Uniwersytet Pedagogiczny im. KEN w Krakowie

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